Turnverein: The Society of German-American Turners

Performing arts, Popular Culture, Regional History, Social History, Society & Culture, Sport, Sports history

Turnverein (Pl. “Turnvereine”) from German: turnen (“to practice gymnastics”) + –verein (“club” or “union”)

𖥠 𖥠 𖥠 𖥠 𖥠

The earnest pursuit or physical exercise and a healthy lifestyle isn’t the first thing you think of in regard to fast-foodified, modern America and Americans. But it was the case for many German-Americans in the late 19th and early 20th centuries. These immigrants and sons and daughters of immigrants formed themselves into Turnvereins (German gymnastic/athletic clubs) in the US which, inspired by pioneering early 19th century Prussian physical educationalist and nationalist, JFLC ‘Vater’ Jahn (“the Father of Gymnastics”), promoted physical culture, German cultural traditions, freethinking and liberal politics1⃞.

Cincinnati Turners, 1909 (source: Indiana University Library)

The members of these Turnvereins, known as “Turners”, played leading roles in sponsoring gymnastics as an American sport and a subject for school, helping to popularise physical exercise and callisthenics as a way of life. Turner gymnastics, the centerpiece of the societies’ activity, comprised distinctive calisthenics routines and apparatus exercises which emphasised masculine strength and agility [‘Milwaukee Turners’, Encyclopedia of Milwaukee,  https://emke.uwm.edu]. The Turners’ clubs and associations (Vereininigte Turnvereins Nordamerika) spread out from the Ohio Valley throughout the US. At one point, around 1894, Turnerism reached its zenith with 317 societies and approximately 40,000 members. The Turnvereins performed a multi-functional purpose, aside from the physical activities they fulfilled a social role for recent arrivals from Germany, helping them to integrate into their new home while facilitating the retention of German culture (the societies’ halls (Turnhalles) were havens for social get-togethers). In so doing the Turners fostered a form of group solidarity among German-Americans by preserving their ethnic culture and identity [Annette R. Hofmann, ‘The American Turners: their past and present, Revista Brasileira de Ciências do Esporte’, Volume 37, Issue 2, 2015, Pages 119-127, ISSN 0101-3289,
https://doi.org/10.1016/j.rbce.2014.11.020.]

Central Turner Hall, Cincinnati, Oh.

The Turner societies were politically progressive, supporting the liberal brand of Republicanism in the 1850s and 60s.2⃞. Turners were strong abolitionists, both antebellum and during the Civil War, when many of the members fought for the Union side. Later, the Turnen associations embraced homegrown causes in the US such as the struggle to achieve women’s suffrage and equality3⃞ and workers’ rights under capitalism; in the interwar years the Turnvereins were vocal in their opposition to the rise of fascism and Nazism in Europe [‘The Milwaukee Turners at Turner Hall’, www.milwaukeeturners.org).

Milwaukee Turners (source: Encyclopedia of Milwaukee)

By the early 20th century the Turnverein impulse in America was losing its intensity, partly this was generational, the American-born Germans were increasingly less fluent in German and more attuned with the mainstream US culture. The associations were less radical and socialist and more conservative in their outlook and American government WWI hostility to Germany and Germans and Prohibition in the decade-plus after it were factors that further undermined Turner solidarity. The pull of assimilation and an inevitable “Americanisation” process severely weakened the cultural affinity with things Germans within the associations and the number of Turner societies dropped off dramatically from the 1920s on 4⃞ (Hofmann).

Today, the Turnen movement in America—massively diminished in size and influence with the number of active clubs having plummeted to under 50—and shorn both of its political activism and its Teutonic focus, maintains its existence as gymnastics (and other sports) clubs and social associations, while espousing the motto “a sound mind in a sound body” and still advocating the core virtues of physical fitness and exercise.

100th anniversary of Baltimore Turners (source: Indiana Memory Hosted Digital Collections)

Endnote: while the gym and physical fitness remains central to the societies’ ethos, the modern American Turner clubs have diversified their repertoire of group activities beyond the exclusive practice of gymnastics. The Riverside Turners (New Jersey) for instance offers a range of activities including darts, shuffleboard, horseshoes, basketball and golf, while the Milwaukee Turners provide members looking for something more challenging with rock and ice climbing walls.

Photo: Facebook, Milwaukee Turners

              

1⃞ unfortunately Jahn’s training regimen which tended towards the militaristic had a downside…it also directly influenced the Nazis and the Hitler Youth movement of the following century [‘A History of Gymnastics, From Ancient Greece to Tokyo 2020’, Meilan Solly, Smithsonian Magazine, 26-July-2021, www.smithsonianmag.com]

2⃞ in the 1850s the Turners found themselves in bitter conflict with the short-lived, nativist “Know-Nothing” party

3⃞ which contrasts starkly with the record of gender exclusion within the Turnen societies themselves…women were firmly ensconced in a subordinate role as the Turnvereins remained male preserves right up to recent times

4⃞ German culture was submerged under “Apple pie Americanism” with German references in the organisation’s names such as Demokratischer Turnerbund shelved…from 1938 the national movement officially and permanently became “American Turners”

A Logolept’s Diet of Obscure, Obsolete, Curious and Downright Odd “W” Words

Creative Writing, Literary & Linguistics, Popular Culture, Society & Culture

A “W” beats a “single U”, and a “single V” for that matter!”

“W”, letter number 23 in the alphabet, traces its genesis to the Semitic letter vaw (as does f, u, v and y), which the ancient Greeks adopted as upsilon. W’s place in the English alphabet came about indirectly via the prior-existing letters “U” and “V”. At first there was no letter “W”, “W” was represented by two consecutive letter U or V …eventually one single character evolved to represent the “W” sound – “W” or “Double-U”. “It’s this history that gives W the longest name of any letter of the English language—and also means that the acronym www uniquely contains three times more syllables than it does letters” (www.mentalfloss.com).

Why Double-U and not Double-V? In print (but not cursive writing) “W” comprises two Vs (VV), so why wasn’t it called “Double-V”? Basically it’s to do with the timing of the letter W’s evolution in Old English. At the time the “W” symbol was created “V” did not exist in that language, so “W” was rendered as “UU”, and so it stayed (‘Why isn’t a W called a double V?’ Grammarphobia (27-Apr-2011), www.grammarphobia.com).

<word> <meaning> <derivation>

Wafture: (cf. Waftage) act of waving or making a wave-like motion; wafting: to convey or carry lightly and smoothly through the air or over water [from LowGer., Dutch wachter, from wachten (“to guard”, the sense of “convey by water”/“escort a ship”) from wafter (“armed convoy vessel”)] 👋

Waggoner: driver of a wagon; a collection or book of nautical maps [from OldDutch wagan, from Proto-West Germanic wagn, from Proto-Germanic wagnaz (“wagon”), from Proto-Indo-European woǵnos (“wagon”; “primitive carriage”), from weǵ- (“to transport”)] 📕

Waggoner (source: National Maritime Historical Society)

Wagtail: an obsequious person; a harlot (origin unknown)

Wale: to choose; the act of choosing(?) (origin unknown)

Wamble: nauseous; walk unsteadily; a staggering gait; wobbling or rolling motion; churning of the stomach [MidEng. wamlen; (“to become nauseated”), from L. vomere (“to vomit”)]

Wanchancy: unlucky; uncanny [from MidEng. wan-, from OldEng. wan-, from Proto-West Germanic wana- + From MidEng. chance, cheance, chaunce, cheaunce, a borrowing from Old French cheance (“accident”; “chance”; “luck”), from Vulgar Latin cadentia (“falling”)]

Wanhope: hopelessness; despair; vain hope; overconfidence; delusion [OldEng. wan-, from Proto-Germanic wanaz (“lacking”; “missing”; “deficient”) + from Old English hopian (“hope”)]

Warray: to wage war on [from warry (“war-like”), from Fr, from Vulgar Latin werridiāre]

Wasm: a doctrine, ideology, rule, or theory that is no longer current or fashionable (etymology unclear, first appeared in print via Arthur Koestler, 1949)

Wasm (source: YourDictionary)

Wassail: toast to someone’s health; to go caroling or carousing; spiced ale or mulled wine [Old Norse. ves heill (“be well”, toast] 🥂

Wasserman: a mythical sea monster, part man, thought to destroy ships [from Ger.Wasserman]

Wasserman (image: Pinterest.com.au/)

Webster: female weaver [OldEng. webbestre, from webba (“a weaver”) from webb]

Wegotism: excessive use of the pronoun “we” in speech or writing [blend of we +‎ egotism]

Weirdward: bordering upon the supernatural (origin unknown)

Welkin: the vault of the sky; firmament; heaven [from OldEng. wolcn (“cloud”)]

Wen: a very large, overcrowded city [from MidEng. wen, wenne, from OldEng. wenn, wænn (“wen”), from Proto-Ger. wanjaz]

Wen (photograph: Satish Bate/Hindustan Times/Getty Images)

Wergild: fine paid by family of murderer to family of murder victim (“man-price”) [MidEng. wergeld, from OldEng. wer (“man”) + -geld, alteration of gield, geld (“payment”; “tribute”) 💰

Wertfrei: without value judgement; morally neutral [Ger. wert (“worth”) + -frei (“free”)]

Whangam: an imaginary creature [17th cent. neologism coined by Oliver Goldsmith, Anglo-Irish author]

Whipcat: a person who makes, repairs, or alters outer garments, esp menswear; a tailor (slang: a worker “who whips the cat”) (origin unknown)

Whiskerando: a man with extravagant whiskers [Scand. Iceld. visk (“a wisp of hay”); allusion to Don Ferolo Whiskerando in RB Sheridan’s The Critic] (cf. Whiskerine: beard-growing contest)

Whiskerando (source: dailymail.co.uk)

Wiccaphobiac: one who fears or hates Wiccans or Wicca. A person with a morbid fear of witches or witchcraft [OldEng. wiċċa (“male witch”), from Proto-Germanic wikkô (“sorcerer”) + -phobia]

Wiccaphobiac ((image: Pinterest.com.au/)

Widdershins: counterclockwise, anticlockwise; to walk around an object by always keeping it on the left MidLowGer. weddersinnes, (literally “against the way”, i.e. “in the opposite direction”)] cf. Widersinnen: “to go against”)

Wight: nimble; strong; courageous; a supernatural, man-like being [from MidEng. wight or wiȝt, from OldEng. wiht, from Proto-West Germanic wihti]

Williwaw: a sudden, violent gust of cold wind; a state of extreme confusion, turmoil, or agitation (origin unknown) 💨

Witticaster: a petty or inferior wit [from MidEng. witty, witti, from OldEng. wittiġ, witiġ, ġewittiġ (“clever”; “wise”), from Proto-West Germanic witīg + –aster]

Wold: a piece of high, open, uncultivated land or moor (Brit.) [OldEng. wald (“wooded upland”) of Germanic origin; perhaps related to wild]

Wondermonger: one who promises miracles; a person who tells of or exploits strange or freakish things [from MidEng. wonder, wunder, from OldEng. wundor (“wonder”; “miracle”; “marvel”), from Proto-West Germanic *wundr + from L. mangō (“dealer”; “trader”)]

Woonerf: a road in a residential district which has installed devices (eg, traffic calming, low speed limits, shared space) to reduce or slow the flow of traffic (a living street) [Dutch: wonen (“reside”) + erf (“ground”; “premises”) (literally: “living yard” or “residential grounds”)]

Woopie: an affluent retired person able to pursuit an active lifestyle [derived from the acronym “well off older person” (“woop)”]

Worksome: industrious; diligent; labour-intensive [from MidEng. work, werk, from OldEng. weorc + from OldEng. -sum (“some”)]

Worricow: scarecrow; hobgoblin; frightening-looking person [Scot. from worry (“to harass”) + –cow (“hobgoblin”)]

Woubit: a small and shabby person; a hairy caterpillar [MidEng. wolbode, from woll (“wool”) + -bode (?)]

Wrackful: destructive or ruinous [from “wreck”, from OldNorse reta (“to drive”) ➠ Anglo-Norman Fr. wrec]

Writative: characterized by an inclination to write ✍️ [from MidEng. writen, from OldEng. wrītan, from Proto-West Germanic wrītan + -tive (poss. based on “talkative”)]

Wynd: narrow street or lane [MidEng: (Scots) wynde, probably from wynden (“to wind”; “proceed”; “go”) from OldEng. windan (“to twist”)]

Wyrd: the personification of fate or destiny [from Proto-Germanic wurdiz, from Proto-Indo-European wr̥ti-, wert- (“to turn”)]

A Logolept’s Diet of Obscure, Obsolete, Curious and Downright Odd “V” Words

Literary & Linguistics, Popular Culture, Regional History, Science and society, Society & Culture

”V” for verbiage – a plethora of words!

V (lower case: v) is the twenty-second letter in the Latin alphabet, it appears in the modern English A—Z as well in as the alphabets of other western European languages. Its name in English is pronounced vee. As is the case with its sequential predecessor, “U”, which was the conduit for V’s linguistic journey, “V” ultimately comes from the Phoenician letter waw.The letter “V” in the popular consciousness is forever associated with “victory”, a symbolic nexus forged during the Second World War as a rallying call for the Allies’ war effort. It’s originator, an obscure Belgian politician, largely forgotten by the overarching giantic shadow of the phrase’s populariser, that wallflower of the shrinking violet variety, Sir Winston Churchill, for which the term “V for victory”, along with its accompanying Winnie trademark two-digit gesture, is eternally associated. Again, as with the letter “U”, Latin root words form the nucleus of “V” words in the following list.

<word> <meaning> <derivation>

Vaccimulgence: the milking of cows [L. vacci- (“cow”) +‎mulgentia (“milking”)] 🐄 🥛

Vadelect: serving man, part of the household staff; personal servant [L. vadelectus, vad- (“go”) + unknown (?)]

Valetudinarian: a person who is obsessed with some ailment; hypochondriac [L. valēre, (“to have strength”; “to be well.”) + -ian]

Valuta: comparative value of different currencies (USD: AUD, etc) [[L. valēre]

Valuta (source: 123rf.com)

Vaniloquent: speaking only of oneself or speaking egotistically [L. vanus (“vain”) + –loqui (“speak”)]

Vapulate: to beat with a whip [L. vāpulō [Prob. onomatopoeic in its origin, meaning “cry”; “wail”) from which meaning the attested meaning “be beaten, be stricken” evolved]

Veduta: panoramic view of a town; highly detailed, often large scaled painting or print of a cityscape or other vista [It. veduta (“view”)]

Veduta: (townscape: View of Bracciano by Paul Bril; early 1620s)

Vellichor: the strange wistfulness of used bookstores, which are somehow infused with the passage of time [velli- (unknown?) + -chor (“sing”; “dance”)]

Vellichor (photo: en.japantravel.com)

Velocious: with great speed [L. veloc-, velox (“quick”) + -ious] (cf. Velocipede: swift-footed person)

Velologist: collecting of, study of, buying & selling of vehicle tax discs (UK) [L. velo (unknown?) + -logy]

Velologist

Venator: (also Venerer) hunter; huntsman (cf. Venatrix (Fem.)); (Hist.) a type of Roman gladiator who specialised in hunting wild animals; type of wolf spider 🕷️ [from L. vēnor (“I hunt”) +‎ -tor]

Vendible: capable of being sold [L. vēndere (“to sell”) + -bilis (“capable of being acted upon)”]

Venineman: juror (derivation unknown)

Ventripotent: having a fat belly, or being a glutton [L. ventr-, venter– (“abdomen”) + -potent-, potens, from OldLat. potēre (“to be powerful”)]

Venustaphobia: fear of beautiful women [L. Venus (“Roman goddess of love and beauty”) venust (“beautiful”) + -phobia]

Verbarian: coiner of words [MidLat. verbum (“word”; “verb”) + -arian]

Verbigerate: to continually repeat a word or phrase meaninglessly, usually unconciously [L. verbum (“word”) + -gerare, from gerere (“to carry”)]

Verger: church usher and attendant [L. verge (“rod”; “wand of office”) + -er] ⛪️

Veriloquent: speaking nothing but the truth [L. vērāc– (“true”) + –loqui] (cf. Veridical: veracious; genuine; truthful)

Vernarexia: (also Vernalagnia) a romantic mood brought on by Spring; “Spring Fever” [L. vernal (“spring”) + -orexia (“desire”)]

Vernarexia

Versutiloquent: speaking craftily [ L. versūtus, from vertö, versum (“to turn”) + loqui] (cf. Versute: crafty; wily; artful)

Vertiginous: extremely high or steep; giddy, dizziness (affected by Vertigo) [L. veriginosus, from vertigo (“whirling about”)]

Vertiginous (source: atlasobscura.com)

Vespertine: happening or active in the evening; flourishing or flowering at night [Gk. Hesperus is from (“evening star”) + -ine] (cf. Vesper: evening; the evening star)

Vesthibitionism: the flirtatious display of undergarments by a woman [L. vestimenta, (“clothes or undergarments”) + –exhibeo, (“to show”) +-ism]

Vestigial: a very small remnant of something once greater or more noticeable; rudimentary or degenerate organ/body part [Unknown, possibly from earlier verstīgium, from L. verrō (“to sweep”), or poss. from vē- +‎ stīgō, from Proto-Indo-European stéygeti (“to walk”)]

Vetanda: forbidden things [Vetanda in Sanskrit vetanda (? “elephant”)]

Vetust: very ancient [L. vetustus (“old, ancient”)]

Vexillologist: a collector of flags for display [L. vexillum (“flag”) + -logist] 🇧🇷🇧🇮🇬🇱🏴󠁧󠁢󠁷󠁬󠁳󠁿🇨🇽🇺🇬🇨🇼

Viātor: “traveller;” “wayfarer” [from L. via (“track or road”) + -tor] (cf. Viaggiatory: traveling frequently)

Viator: Marco Polo was a viator

Vicennial: occurring every twenty years [LateLat. vīcennium, (“period of twenty years”)]

Vicinage: neighbourhood; residents in a neighbourhood [L. vīcīnus (“neighbour”)]

Victrix: female victor [from L. vincere (“conquer”)]

Victrix (image: lessonplanned.co.uk)

Victualler: one who operates a pub or eatery; supplier of provisions to a naval ship or army; seller of alcohol [L. victus (“food”) + -ler]

Videndum: the thing to be seen [L. vindendus, from videō (“I see”)]

Vigneron: wine-grower 🍷 [from OldFr. vigne, (+ -ron) from L. vīnea (“vines in a vineyard”)]

Vigneron (photo: vigneron-independant.com/)

Vilipend: to treat or regard with contempt; to belittle; to speak slanderously or slightingly of someone [LateLat. vīlipendere, from L. vīlis (“worthless”) + -pendere (“to esteem”)]

Virago: a woman who demonstrates abundant masculine virtues [L. virāgō (“vigorous maiden”) from vir– (“man-like”) + -ago] (cf. Viraginity)

Virgivitiphobia: a fear of being raped [L. virgi (“marriageable girl”?) + -phobia]

Viripotent: fit for a husband; marriageable [L. vir (“man”) + potens (“fit for”)]

Virvestitism: a preference of some women to wear mens clothing [origin unknown)

y [L. viaggiatore (“traveller”; “voyager”) + -tory)] (cf. Viator:

Viatical: of, like or pertaining to roads or travel (cf. Viatecture: construction of roads and bridges)

Vociferant: clamorous; shout; complain; argue loudly or vehemently [L. vox (“voice”) + –ferre (“carry”)]

Voluptuary: sensualist; person fond of luxury [ LateLat. voluptuārius, from L. voluptārius (“pleasure-seeker”; “agreeable”; “delightful”; “pleasant”; “sensual”), (cf. Volupty: sexual pleasure)

Voraginous: pertaining to something which devours everything [L. vorāginōsus, from vorāgō (“abyss”) + -ous]

Vorago: gulf; chasm; abyss (origin unknown)

Votary: a devoted follower, esp a monk or nun; adherent; a staunch advocate of someone or something else [L. vot (“vowed”) + -ary]

Votary

Vulgus: the common people [L. volvō (“I roll”; “turn over”) (cf. Vulgo: commonly; popularly)

Vulpine: pertaining to foxes; (Literal: crafty; cunning [L. vulpinus, from vulpes (“fox”)] 🦊

Feasting Out on Peplum, Swords, Sandals and Sorcery: A Short-lived Historical/Mythological Film Sub-Genre

Ancient history, Cinema, Memorabilia, Popular Culture, Regional History

As a kid I was wholly immersed in what film critics call ”epic films“…those mega-large scale productions with sweeping scope and spectacle, unfettered extravagance, lavishly costumed, a cast of thousands (actual persons, not a computer-generated substitution of a multiplicity of images for people en masse), exotic locations, loosely set in a far ago historical context which could be Biblical, could be Viking sagas, Sinbad the Sailor/Arabian Nights adventures, 16th century pirates, Spanish Conquistadors in the New World, 12th century Crusaders venturing forth for the Holy Land or from countless other pages in the chronicles of history. Even movies which mix myth with history like the Robin Hood sagas or the Arthurian legend drew me to their flame. But it was the world of antiquity, in particular the BC era as interpreted on celluoid screens large or small that most fired my imagination. My all-time favourite viewing entertainments back then were “sword-and-sandal” movies. Yes okay I admit that when we got a TV set in the late Fifties, watching Westerns started to consume the lion’s share of my leisure time, but by circa 1960 there was just so many damn TV westerns, “horse operas”, “oaters” call them what you like monopolising air time on the box, that you had to be discerning to avoid them (which I wasn’t!).

King of Kings (1961): dubbed “I was a teenage Jesus” by critics upon its release

The Peplum:
This quintessential term in the epic film lexicon comes from the garment worn by Greek women in the Archaic era, the peplos. What the Hellenic women of antiquity called a peplos—a long outer robe or shawl which hung from the body in loose folds and sometimes was drawn over the head—is a far cry from how moviemakers in the mid-20th century conceived the garment. Peplaⓐ in the Greco-Roman cinematic universe were a much sexier affair, mini-length tunics to show off shapely legs (and worn by both sexes).

Peplum fashionistas

In that less prescriptive age when no one fretted much about the adverse physiological (or psychological) effects on juveniles of their maxing out in front of the idiot box 12 hours a day, my penchant was to get as much Hollywood epic blockbusters into me as I could manage—this included such classic Hollywood biblical and historical fodder as Ben-Hur, The Ten Commandments and Spartacus —seeing them in the picture theatre and again on television when they turned up there. If I had to nominate one ancient world epic flick as my all-time favourite though, I’d probably plump for the 1963 Jason and the Argonauts movie– admittedly a smaller scale ‘indy’ production without the big name star drawing power (maybe more “epic-lite?”). It’s stellar appeal lay in part, like its more famous fellow Greek myth story, “The Odyssey”, in the adventure-packed extravaganza of its Classical heroic tale, its virtuous protagonist’s quest and ultimate triumph against the longest of odds stacked against him. But what elevated Jason and the Argonauts above the pack for my 11-year-old self was undoubtedly the film’s fantasy special effects. I was captivated by the myriad of fearsome legendary creatures created by Ray Harryhausen’s ground-breaking SFX wizardry—though to more discerning adult eyes they must have looked decidedly “hokey” and “stilted”—the glorious highlight of which was the iconic scene where Jason single-handedly battles the frenetic army of animated sabre-wielding skeletons – and emerges triumphant of course!

Jason and the Argonauts (1963): Harryhausen’s Special FX

At some point in my juvenile years I developed a special fondness for Italian-made sword-and-sandal ⓑ flicks, something which I find hard today to rationalise. These are films, made primarily between the late Fifties and the mid Sixties, with trite, ludicrous and meaningless translated titles like Goliath and the Vampires, Hercules Against the Sons of the Sun, Samson Against the Sheik and Ursus in the Valley of the Lions. Most are set in ancient Greece, sometimes in Rome or elsewhere within the Empire (occasionally somewhere more exotic), and characteristically with storylines and events riddled with anachronisms.

Ursus finds himself in the Amazon in this 1960 entry

The sword-and-sandal formula
Robert Rushing defines the peplum as “depicting muscle-bound heroes…in mythological antiquity, fighting fantastic monsters and saving scantily clad beauties”. Sloppily dubbed into halting English, atrociously woodenly acted, scenes lacking continuity, the plots are ludicrously formulaic, typically involving a superhuman strong man hero who stereotypically runs through his repertoire of superhuman feats of strength, triumphing over all foes while rescuing a beautiful but defenceless heroine (typically wearing the briefest peplum imaginable) and sometimes liberating the oppressed masses to boot at the same time. Unlike Hollywood’s lavish epic spectacles (Quo Vadis?, Cleopatra, Ben-Hur, etc.) , these Italian homegrown peplums were decidedly low-budget flicks which zeroed in on the hero’s beefcake attributesⓒ. (‘Sword-and-Sandal’, Wikipedia, http://en.m.wikipedia.org). The Italian cinematic peplum was indeed a curious passion of my pre-teen to early adolescent years.

Hercules (1958) with Steve Reeves: prototype for the Italian sword-and-sandal film

Hercules by another name
The ur-peplum was Hercules (Italian title: Le Fatiche di Ercole), released in 1958, starring American bodybuilder-turned-actor Steve Reeves, an instant hit which pocketed >$5,000,000 profit for the producers and backers and unleashed a steady stream of sequels starting with Hercules Unchained. As a variation to Hercules, other strongman protagonists were added to subsequent peplum movies, including Samson, Goliath, Ursus and Italy’s own folk hero Macisteⓓ. By 1965 the peplum was pretty much passé in Italy, with the void quickly filled by Spaghetti Westerns and Eurospy films.

My fascination with this Continental movie sub-genre was even more remarkable and unfathomable because, even then, I knew that the films were egregiously badly put together! Watching them was like being drawn against your better instincts to look at something as horrific as a car crash…you know it’s wrong but you just can’t resist the temptation. The unequivocal fact that the sword-and-sandal pictures were such thoroughly execrable, absolute turkeys of films perversely had precisely zero impact on my satisfaction quotient during my early impressionable years!

This 1964 ”Sword-and-sandaller” Maciste Contre Les Hommes De Pierre was released in English as Hercules Against the Moon Men, (“Hercules meets Sci-Fi”)

Footnote: Now at an age where I am hurtling towards senectitude I find the grainy and tired-looking footage and the equally tired storylines so unappetising that I couldn’t even stuck it out for 10 minutes, let alone stay the course of a peplum…but even with my profoundly diminished enthusiasm I still hold a soft spot for the deeply flawed sub-genre…I guess that’s simply nostalgia kicking in – the remembrances of things past which seemed better then (ie, in my youth) than they do now guided presumably by a more mature, more measured outlook.⿻⿻⿻

The sub-genre’s popularity in the early ’60s prompted the Three Stooges to get in on the act with a slapstick, farcical take on the Italian peplum The Three Stooges Meet Hercules (1962)

༻༻༻༻༻༻༻༻༻༻༻༻༻༻༻༻༻༻

ⓐ plural of peplum

ⓑ “sword-and-sandal” and “peplum” are used interchangeably to describe this sub-genre, both terms have a disparaging connotation. The sorcery component of the sub-genre was something I could take or leave

ⓒ so to have the lead convincingly looking the part, professional bodybuilders, athletes and wrestlers were transformed into actors and cast as the Herculean-like protagonist

ⓓ Maciste as strongman in the peplum films was resurrected from a previous incarnation in the silent era of Italian cinema